This document discusses spectatorship studies and how film elicits emotional responses from viewers. It explores several theories of how film is an affective medium, from the development of continuity editing techniques that suspend disbelief, to intentional uses of propaganda. Several examples are provided of how director and screenwriter intentions, star performances, narrative structure, and historical context can all influence a viewer's emotional response both during and after watching a film. Popular themes from previous exam questions on this topic are also listed.

1. WJEC A2 Film Studies
Unit FM4 Section B
Spectatorship Studies
Popular Film and Emotional Response

2. Spectatorship Studies are interested in the
relationship between spectators and film

3. Spectatorship theories are based on the
belief that film is an affective medium – that
spectators are affected by watching films

4. The nature of that affect can be:
• Short term (the length of the film)
• Medium term (a few hours or days after
the film)
• Long term (years after the film)

5. The nature of that affect can also be
psychological, intellectual, emotional or
physical, for example …
Psychological – embedded in the subconscious in ways
that might drive behaviour at a later date
Intellectual – providing knowledge and information
Emotional – generating feelings, like sadness or happiness
Physical – causing physiological responses such as crying
or laughing

6. Is Film an Affective Medium?
• Film was designed to be a powerfully affective medium –
especially through the development of continuity editing which
persuaded audiences to suspend disbelief when watching a film
and accept fantasy as reality
• Continuity editing enabled film makers to create believable
reality by establishing cause-effect logic
• The persuasive power of film was recognized very early in its
history and it was used as both an overt propaganda tool in
Tearing Down the Spanish Flag (Vitagraph, 1898), Triumph of the
Will (Leni Reifenstahl, 1935) and The Birth of a Nation (D.W.
Griffiths, 1915) and a more subtle one in Hollywood even prior to
WW11 Confessions of a Nazi Spy (Warner Bros, 1939)

7. Is Film an Affective Medium?
• The use of film as propaganda continued during and after the war:
• The Great Dictator (1940, Charlie Chaplin, Charles Chaplin Film
Corporation, Distributed by United Artists, Distributed by
Universal)
• In Which We Serve (David Lean and Noel Coward, 1942, British
Lion Film and United Artists) 1:34
• In many ways propaganda is very difficult to separate from
persuasion or even, simply, an opinion or a point of view. If that
point of view is commonly held by the majority of a society, and
reinforced through its media then it is called an ideology:
• Kramer versus Kramer (Robert Benton, 1979, Columbia)

8. Is Film an Affective Medium?
If we accept that film is an affective
medium with the power to affect our
emotions then we need to consider the
ways in which it does that:
• Director Intentions
• Screenwriter’s Intentions
• Star Performance
• Narrative Structure
• Film Language
• Historical/Political/Social Context

9. Is Film an Affective Medium?
Director’s Intentions
• A Clockwork Orange (Stanley Kubrick, 1972, Warner
Bros/Columbia) - The Ludvico Treatment
• Full Metal Jacket (Stanley Kubrick, Warner Bros, 1987) Opening
• Full Metal Jacket (Stanley Kubrick, Warner Bros, 1987) Scene 2
• Schindler’s List (Steven Spielberg, 1993, Universal) A Small Pile of
Hinges
• The Pianist (Roman Polanski, 2002, Studio Canal/Focus) Trailer

10. Is Film an Affective Medium?
Star Performance
• Sophie’s Choice (Alun Pakula, Universal, 1982) The Choice
• Good Morning Vietnam (Barry Levinson, 1987, Touchstone/Buena
Vista) Robin Williams
• Good Will Hunting (Gus Van Sant, 1997, Miramax) Robin Williams
and Matt Damon
• The Deer Hunter (1978, Michael Cimino) Russian Roulette –
Robert De Niro and Christopher Walken
• Taxi Driver (Martin Scorsese, 1976 ) You Talkin’ To Me?
• The Brave One (Neil Jordan, 2007 ) Jodie Foster

11. Is Film an Affective Medium?
Narrative Structure
Life is Beautiful (Robert Benigni, 1997, Italy/Miramax) Trailer
Life is Beautiful (Robert Benigni, 1997, Italy/Miramax)Full Film 1.35
This Boy’s Life (Michael Caton-Jones, 1993, Warner Bros) Ending
Shawshank Redemption (Frank Darabont, 1997) Ending
The Graduate (Mike Nicols, 1967)Ending
Hannibal (Ridley Scott, 2001) Penultimate
Hannibal (Ridley Scott, 2001) Final Scene
Inglourious Basterds (Tarantino, 2009) Opening

12. Popular Film and Emotional Response
Previous Exam Questions – Themes
• Identification with characters
• Emotional manipulation
• Performance
• Film Techniques
• Filmmaker’s Intentions
• Soundtrack
• Narrative versus Style
• Spectator Response/s - Variations

13. Popular Film and Emotional Response
Previous Exam Questions – Themes
• Visual Elements
• Spectator’s Prior Knowledge as Fans
and Informed Filmgoers
• Key Elements
• Intense, Dramatic Situations
• Viewing Situation (Context)
• Genre (Predictable & Unexpected)